INTERVIEW: Kathryn Lyles of MAF’s Gypsy

 Kathryn M. Lyles appears as Louise in the Maryland Arts Festival production of Gypsy.  Her performance is a revelation.  I was most fortunate to get the chance to meet her after a performance recently, and she graciously agreed to my grilling her with 13 questions.  Gypsy continues its run through this weekend, Thursday through Saturday at 8PM at Towson University.

James Howard (JH):  Congratulations on a terrific performance and show!  This production of Gypsy seems to be a little different in that instead of an overpowering Mama Rose, there are 3 strong personalities driving the story (Rose, Louise and Herbie).  Was this by design of the director, Todd Pearthree?  Or is it something that evolved?

Kathryn Lyles (KL): Thank you so much!  Well that is, I think, in essence a very flattering question. I think that casting like this is luck of the draw. I mean, I know everyone expects a powerhouse Mama Rose, and I think anyone in the Baltimore area knows (at least a little) how truly wonderful Michael Himmelfarb is, but I don’t know if any of us knew going into it, to what a degree the three of us would really hit it off. We’ve been very lucky.

 

JH: What kind of training did you have to go through to be ready for the transformation from Dainty Louise to Gypsy Rose Lee?

KL: Oh, good Lord! So much training! Seriously. I was very, very blessed to have such a trusting director as Todd Pearthree on this project. He and I had worked together a few years ago and I contacted him about being interested in this role, knowing full well that at the time I was much too heavy to play a conventional Louise- but I was so lucky (can I say it enough?), Todd took a chance and cast me anyway. So I’ve been dieting & training (physically) since January and I have lost 20lbs to play this role: I’ve starved & lived in the gym; both here and in Philadelphia (where I currently live)… and it’s all been worth it… Everything else is make-up and wigs.

 

JH:  What is your favorite moment in Gypsy?

KL:  I think I have three--- for varying reasons. First, the strobe effect moment when we immerge as the adult versions of June & the Newsboys. That moment is so wonderfully theatrical and I always feel very “Story Goes On” about it- thinking of all the others who have done those famous trenches and here we are, breathlessly, joining the ranks. Second would be the scene and song for “If Mama Was Married”. I have been the world’s biggest Lauren Spencer-Harris fan since I was little, and I’m telling you she’s just as amazing from three inches away as she is from the audience and I’m honored to work with her every night. And lastly, maybe predictably is the reveal for the final Minskey strip when I get to come out on the apple. I’m not the kind of girl who usually gets to wear the pretty costumes or be “checked out” by guys and in that moment –and for just a moment- I get to be the prettiest girl in the room and that feeling is priceless.

 

JH:  The roles you list in your program bio show an amazing range of musical theatre roles.  How does one actress prepare to be Gypsy, Gertrude McFuzz (Seussical) and Rafaela (Grand Hotel)?

KL:  Hahaha… wow. When you say it like that it does like pretty cool! Honestly- Research. I pride myself on it. I had an AMAZING acting teacher in college, Rick Stoppleworth, who taught me the value of honest book report research for every show you do and I live by it. I am a fixture in the library and it feels like every time I get cast I run up a big bill on every book, movie, memoir, cast recording etc that I can find. (I’m starting to have quite a collection!) I take each role as a blank canvas- a new beginning – and I use that research time to find what of the character lives in me already and color in the parts that are missing with actions, images, and imaginary circumstances.

 

JH:  How did you come to the Maryland Arts Festival?  What has this experience been like?

KL:  I came to the Maryland Arts Festival back in 2000 when my friend Kevin Korczynski (the beautiful & talented Tulsa!) was auditioning for “The Wizard of Oz” and encouraged me to come out with him. We ended up both getting the show (I was a glorious Poppy) and in that summer I was introduced to both Todd Peathree and the festival all in one fell swoop. I really love both productions I’ve done here. I always feel like I’m really attending a special event when I see a MAF show and it’s just been awesome to get to be a part of that. AND it’s been a dream come true working with the amazing Todd Pearthree again. This is a man who runs a well-oiled machine. He is a warm and funny man I love being around- and his genius in directing and the theater on a whole is dizzying. I cross my fingers that I’m lucky enough to work with him again and again in the future.

 

JH:  You recently graduated from college.  Describe your training.  What do you think it has prepared you to do?

KL:  Oh my God. In 30 words or less describe your BFA- GO! Oh lordie… well in short I feel it has effectively prepared me for a career as a performing actor in the professional theater world. My training is immeasurably useful and the greatest gift my parents have ever given me. I got my BFA in Musical Theater @ The University of the Arts in Philadelphia- which, in my unbiased opinion, is one of the absolute best up-and-coming programs in the nation. The emphasis there is on the acting, with the understanding that you act while you sing and you act while you dance so of course it’s the most important part. I studied classes in voice, dance, acting and singing acting- with a wealth of styles and methods from Meisner to Brecht to Gilbert and Sullivan to Cabaret to Shakespeare… The staff there is so dedicated and brilliant it blows my mind. I honestly wish I could do another four years--- just without the homework. 

 

JH:  You have had the opportunity to work at a regional theatre institution, the Prince Music Theatre.  What was that like?  How did that come about?

KL:  Oh the beautiful Prince! It was wonderful! I was cast as June, a featured Cookie in Sondheim’s brilliant Anyone Can Whistle by director Charlie Gilbert (my long time mentor and teacher). The production boasted amazing leads Chuck Wagner/>/>, Crista Moore/>/> and Jane Summerhays, which was SO COOL to little me who had trouble being around Chuck and not fainting for the first handful of rehearsals. The miracle of the story happened later on when Crista Moore/>/> got terribly sick just before opening and had to be replaced (as Fay Apple) by Taryn Cagnina (a wonderful actress who was, at the time, a UARTS student). Taryn went on for a few shows and then she also got deathly ill and I was given the opportunity to go in for the leading role in my first professional production ever. As fate would have it, I was deathly ill before what would have been my third time performing Fay, so I didn’t get the complete fairy tale ending- but it was still one of the best adventures of my life thus far.

 

JH:  You were a Laurie Beechman Memorial Scholarship recipient.  What do you know of that late, great talent?  How has she (and others like her) influenced your career and training thus far?

KL:  Laurie Beechman was just amazing. She was such a phenomenal talent and a beautiful young woman with the most supportive and loving family. I think of Laurie all the time when I’m struggling and when I’m creating… I had the honor of meeting her parents and close family recently and we were able to talk about her career and my career and just hearing how much she is still supported and loved- how much they still do to honor her everyday- is inspiring. I have an amazing family like that and it reminds me how blessed I am to still have everyone around me supporting me and loving me here and now while we’re all together.

 

JH:  Who have you worked with that effected/influenced your acting/career/life the most, for the good or bad?  Why?

KL:  At UARTS I had the amazing fortune of studying singing-acting with Charlie Gilbert, a composer, director, teacher, mentor and genius who not only shaped me as a performer but also taught me a lot about the life of an artist. Artistically he taught a new method of singing-acting which I SWEAR by- called the SAVI method (which means that all singing-acting is Specific, Authentic, Varied and Intense). The method marries a strong acting technique (in my case I use Meisner) with healthy singing to ensure that the dramatic intent of the character doesn’t die when the music begins. Charlie has inspired me in my life as well; he and his beautiful wife D’Arcy were able to raise two amazing children in a home that is rich with art and culture, where Mom and Dad are working artists who have time and ability to support their family and spend quality time with them. Which is basically what I aspire to be.

 

JH:  What is the best advice you’ve been given as an actor or in life that might relate to acting?  The worst advice?

KL:  The best advice I ever got was from my amazing acting teacher, Rick Stoppleworth. I was doing this world premier musical called A Lyrical Opera Made By Two in which I played Gertrude Stein and all of the show was her own text and we had people wearing cow masks playing instruments… it was risky stuff. It was tech week and I was really freaking out about what more I could do to make the audience get it and appreciate this new thing the cast had created and he gave me the beautiful image that all I could do was close my eyes and jump off the cliff. I had done all of the research and preparation that I could do, and the only thing left to get in my way was me… so now I always picture just that right before I go on stage. Just close your eyes and jump- it’s all about trust.  The worst advice I ever got in life was to just accept things as they are and not challenge them. Someone told me once that I just wasn’t the “type” to play an ingénue role and I should just face the fact and play villains and best friends for the rest of my life. Luckily, I ignored them.

 

JH: What one skill that you have had to develop in your career so far is the most unusual or surprising to you and why?

KL:  Putting an outfit together!! Haha! I’m so act one Louise in real life- I work at the gap so that I can have any kind of clue what looks appropriate in public, but given the chance to dress myself- I’m most likely to turn up in stripes and plaids or something equally horrendous. In all of the constant auditioning I’ve been doing over the last year I’m rather proud of my array of nice dresses and (believe it or not) high heeled shoes that I’ve acquired. I may turn out a “pretty girl” yet!

 

JH:  Where do you hope your career will take you?  Broadway?  Film?  Other venues?

KL:  Oh! Who hasn’t delivered their Tony speech in the bathroom mirror at least a hundred times?!  If the stars align- I’d adore the chance to perform on the Great White Way… but as I get older I’m finding more and more joy in the love and dedication that goes into regional and community productions.  I think I’d be just as happy headlining Broadway as I would be headlining the MAF working on projects that compel me, with people who inspire me.

 

JH:  What projects do you have coming up following Gypsy?

KL:  Is this ye olde plug time?? J Well, since you mention it… I’m currently rehearsing Sally Bowles in the Phoenix Festival Theatre’s production of Cabaret (directed by yet another Todd, this time Starkey). It will be performed September 8-16^th in the Chesapeake Theater @ Harford Community College… so come out and see it!

 

KL:  Thank you so much for taking the time – and caring enough – to ask me these questions. I am so honored and thrilled. From the bottom of my heart… Thanks.

JH:  You are most welcome!  Best of luck with Cabaret and the rest of Gypsy.

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